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18 pages 36 minutes read

Highland Mary

Fiction | Poem | Adult | Published in 1792

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Background

Authorial Context

Much of Robert Burns’s early poetry was written about his relationships with women, and “Highland Mary” is no exception. In addition to “Highland Mary,” Burns wrote four other poems to and about his relationship with Mary Campbell (see Further Reading section). Burns met Mary Campbell at church in 1786, shortly after his lover Jean Armour had been persuaded by her father to revoke her promise to marry Burns. While the exact details of Campbell and Burns’s relationship are unclear, the two did have some kind of understanding and intention to marry. In “Highland Mary,” Burns mentions the many vows they exchanged, and in “Will Ye Go to the Indies, My Mary?”, Burns swears “by the Heavens to be true” (Line 10) to her. Written shortly before Campbell’s death, “Will Ye Go to the Indies, My Mary?” also indicates that the two were planning to “leave Scotia’s shore” (Line 2) and to live in the West Indies together. Before Burns and Campbell could fulfill their plans, however, Mary Campbell sailed to Greenock to take care of her sick brother. Burns would never see Mary Campbell again; while nursing her brother, she contracted his typhoid fever and died that same month.

Burns wrote the poems “Will Ye Go to the Indies” and “My Highland Lassie, O” during his relationship with Campbell; “Highland Mary,” “Lament,” and “To Mary in Heaven” were all written years after her death. While the former two poems depict personal excitement and anticipation, the latter three poems describe Burns’s disappointment and lingering grief. Composed on the third anniversary of Campbell’s death, “To Mary in Heaven” represents the frequency with which the now-married Burns still thinks about his “dear departed shade” (Line 5). He is unable to “forget the hallow’d grove” (Line 10) where they first met, and remembering the embrace he did not know would be their last is still so painful it draws “groans” (Line 8) from his breast. Alongside “Highland Mary,” the poem establishes the lasting impact Mary Campbell had on Burns’s life and poetic career. Burns’s love for Campbell inspired his poetry for over six years, and “Highland Mary” still remains one of his most famous and beloved poems.

Literary Context

Burns’s place within the English literary canon remains somewhat ambiguous. He is still celebrated as the national poet of his home country and is recognized as a part of the Scottish poetic tradition pioneered by writers like Robert Fergusson and Allan Ramsay—the latter of whom likely invented the “Standard Habbie” or typical stanza form used by Burns in his poetry (“National Bards and Folk Poets,” Ian Wedde, Journal of New Zealand Literature, No. 30 (2012), pg. 14). Fergusson and Ramsay’s realistic depictions of Scotland, written in the vernacular or Scottish language, were deeply influential to Burns’s poetics. Furthermore, Burns’s influence on Scottish literature is undeniable: Burns was greatly admired by a number of Scottish writers, including Sir Walter Scott, Robert Nicoll, and Hugh MacDiarmid. However, because of Burns’s propensity for Scots dialect and his preoccupation with Scottish nationalism, many literary critics struggle to place him within contemporary English literary movements.

Nevertheless, Burns was a crucial participant in one English literary movement: Romanticism. While Burns may not have been as fixated on the divine quality of nature as his fellow Romantics, much of Burns’s poetry does idealize the natural beauty of the Scottish Highlands and the common people who populate them. Burns’s “sensitivity to nature, his high valuation of feeling and emotion [and] his individualism” (“Robert Burns.” Poetry Foundation.) made him an attractive figure to the early Romantics. William Wordsworth, Samuel Taylor Coleridge, and Percy Shelley were influenced by the proto-Romantic Burns, and Wordsworth was inspired by Burns’s “Highland Mary” in particular.

Wordsworth’s series of poems about a mysterious, idealized, and deceased figure simply named Lucy borrowed heavily from Burns’s poems about Mary Campbell. Wordsworth’s poetry captures the same wistfully nostalgic and elegiac tone of “Highland Mary” and similarly portrays Lucy as a flower whose life was tragically cut short. Wordsworth’s conflation of Lucy’s youthful beauty with her natural environment also heavily resembles Burns’s portrayal of Mary as a part of the natural beauty of the highlands.

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